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Deborah Young: From TV to Hollywood, the world has no shortage of mafia dramas, but Marco Bellocchio’s The Traitor (Il traditore) carves out its own niche

Charles Bramesco: look, I love contentious court proceedings as much as the next guy, but I’m only human and I have my limits

Gregory Ellwood: I thought The Traitor was quite compelling. It’s broad but entertaining in an Italian Mob movie way. Lots of quippy lines. That being said, it has the worst Rio de Janeiro for Miami I have EVER seen. If they want to make the shortlist they gotta fix that.

Francesc Vilallonga: An impeccable chronicle of two decades of Sicilia. Its precision and rigour dazzles. And Pierfrancesco Favino, the favorite for the best actor award. Masterful.

Jason Bressand: begins sluggishly, but ends at it’s best, thanks to the grandiose play of its main actor and the meticulous retelling of the lawsuits. A very likely acting prize winner

David Bartoli: Great film. Against the Mafia. For the fight of a man. Great performances. Bravo

Manu Yanez: All right Il Traditore by the maestro Marco Bellocchio, a chronicle, from the bowels, of an Italy eaten away by its monsters, its culture and its tendency to create myths. More factual (and less) than cathartic Good Morning, Night, but incisive and exciting.

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David Ehrlich: the director of Blue Is the Warmest Color made a 4-hour movie about butts. it’s the same length as Lawrence of Arabia, and literally 60% of the movie is close-ups of butts. i had a mild psychotic break at one point

Robbie Collin: I’m a great admirer of Abdellatif Kechiche’s filmography, but thanks to Mektoub, My Love: Infinity War, there are now some big buts.

Guy Lodge: Abdellatif Kechiche is a filmmaker I’ve loved, the first MEKTOUB I thought was messy with good stuff going on inside… and now the appalling MEKTOUB, MY LOVE: INTERMEZZO has me doubting my investment on all counts. A crushing, trollish letdown.

Fionnuala Halligan: The question lingers: why put the actresses through such extensive voyeurism, for such thin drama?

AA Dowd: Almost impressed by the monumental tedium of Abdellatif Kechiche’s 3.5-hour MEKTOUB, MY LOVE: INTERMEZZO. It’s like being locked inside a dance club all night with the most boring twentysomethings alive, not a drop of alcohol in your system

Patricia Hetherington: I just walked out of Mektoub My Love: Intermezzo. The most lacivicious leery trash I’ve seen. Eurgh! Talk about objectification and voyeurism.

Stephen Miller: I’ve witnessed the worst film in competition by miles, and its name is MEKTOUB. Like Louis CK’s leaked standup, Kechiche takes every valid complaint lobbed at BitWC and quadruples down: contemptible, male gazing garbage.

Jason Gorber: The unofficial sequel to BROWN BUNNY hops to Cannes – maliciously repetitive, it’s a demonic film trapped in a Eruotrash dance club. Assembled with as much flair as an assembly cut, it’s a violently repetitive ode to shaking butts and breasts

Jamie Graham: And the Palme Bore goes to Mektoub, My Love: Intermezzo, a bump-and-grindingly tedious, 3.5hr odyssey of nibbling strawberries & adjusting bikinis on the beach, then hitting a club to twerk unendingly. Comes to a head with 15 mins of anatomically detailed cunnilingus

Jason Solomons: I’m wondering: is Mektoub the worst film any previous Palme d’Or winner has ever returned to Cannes with?

Tommaso Tocci: By definition inferior to the glorious CANTO UNO, MEKTOUB, MY LOVE: INTERMEZZO is free to be even more radical. Forces you to fight time, pushes you to confront arousal, dares you to look away through endless repetition. Shameless but monumental

Eric Kohn: It’s always a delight to see Elia Suleiman back in action. The meta charmer IT MUST BE HEAVEN finds him pitching this very movie, and it’s another endearing slapstick statement on the Israeli-Palestinian conflict.

Charles Bramesco: Phenomenal stuff here, more Tatiesque wide-shot comedy now brought into the world beyond Palestine (which reminds our man a whole lot of Palestine). The New York bit is hilarious. Crowd very receptive, multiple applause breaks

Alisha Rouse: It Must Be Heaven was beautifully charming, moving and the first film of the fest to make me snort laugh. Big achievement

Joseph Fahim: Elia Sulieman’s ‘It Must Be Heaven’: really good but not great, and certainly not his best work

Victor Blanes Pico: And Suleiman came to conquer us with his biting vision of the world. IT MUST BE HEAVEN or the mirror of who we are through small moments of lucidity in three very different cities and cultures. The gag as means and end. Sparkly.

Christian Monggaard: Elia Suleimans It Must Be Heaven – where the director himself is the lead – is a really funny and absurd, Roy Andersson-esque film about human folly and the wonderful and weird world we all inhabit, and at the same time a tribute to Palestine

Diego Lerer: Great movie Elia Suleiman, IT MUST BE HEAVEN. Perhaps the festival has saved the best til last

Florent Boutet: What a funny and tender film that It Must Be Heaven is. Finishing on this light and intelligent humor of hope and benevolence signs off a marvelous epilogue to a festival that was no less so.

Thierry Cheze: Elia Suleiman findsa poetic grace of divine intervention with It Must Be Heaven. Applause during, and in the credits, he has conquered the Lumière.

Pavel Sladky: The skeptical Palestinian clown Elia Suleiman returns after 10 years with a melancholic dark comedy about what defines home for us and how to live in the space of empathy and poetry. Beautiful, funny, clever.

Javier Zurro: Brilliant closing with ‘It Must Be Heaven’ a comedy (yes, it can be) about the Israeli-Palestinian conflict and a hopeful cry

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Guy Lodge: Putting Justine Triet’s SIBYL at the end of the Cannes competition is pretty perfect scheduling, since it’s basically dessert: light, silky, satisfying. I keep being impressed anew by Virginie Efira’s growing range and poise, and Sandra Huller is a hoot.

Alex Billington: A convoluted attempt at mixing a story about a mother, a filmmaking story, and lessons on life from a writer/psychologist who is actually as lost as everyone she treats. Very meh. Hüller as a fraught, bitter film director is the best part about this film.

Nivrae: bof. Very Cannois with sex scenes to shock the old. Overall not intense enough. The actors are good but the film did not catch me at all and seemed terribly long.

Marine Bienvenot: Film-therapy, Sibyl strays a little on the slopes of Stromboli but the journey in the traumas, failures, fears and weaknesses of Virginia Efira is upsetting. That it is sometimes hard to live with oneself

Cedric Succivalli: BONG unseen (but I should see PARASITE tomorrow hopefully) I am torn between Pedro and Justine for my Palme d’Or.

Marine Bordone: Wonderful Sybil. Justine Triet confirms the extent of her talent in the heart of toxic relationships. Her richest film in cinema. Virginie Efira is once again above all

Gautier Roos: Good, but despite a lot of beautiful things, Sybil leaves an unfinished taste. The mental puzzle announced is not one: it’s just an accumulation of memories more or less inspired. As like Victoria, sophisticated writing falters over time

Ruben Murillo Rosa: Sybil is a very cheap soap opera that has an actress who does not stop trying the whole movie, and that due to the lack of any protagonists who could muster something. I do not think that the montage and the script help to understand the story better. Expendable

Laura Enjolvy: The film is well executed, Virginie Efira plays really well. But for me he lacks soul. I did not feel anything, I never went back to the movie. Too bad.

Josephine Leroy: Completely caught up in the dramatic whirlwind of Sibyl by Justine Triet, with a just brilliant Virginie Efira a disoriented psychoanalyst. Reminiscent of John Cassavetes’ cinema. Dizzying

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BEST PICTURE﻿
1. A Beautiful Day in the Neighborhood
2. Once Upon a Time in Hollywood
3. Harriet
4. The Goldfinch
5. The Irishman
6. 1917
7. Downton Abbey
8. Waiting For the Barbarians
9. The Lion King
10. Avengers: EndGame

BEST DIRECTOR
1. Quentin Tarantino - Once Upon a Time in Hollywood
2. Martin Scorsese - The Irishman
3. Kasi Lemmons- Harriet
4. Marielle Heller - A Beautiful Day in the Neighborhood
5. Ciro Guerra - Waiting For the Barbarians

BEST ACTOR
1. Mark Rylance - Waiting for The Barbarians
2. Christian Bale - Ford vs. Ferrari
3. Leonardo DiCaprio - Once Upon a Time in Hollywood
4. Matthew Rhys - A Beautiful Day in the Neighborhood
5. Robert de Niro - The Irishman

BEST SUPPORTING ACTOR
1. Tom Hanks - A Beautiful Day in the Neighborhood
2. Brad Pitt - Once Upon a Time in Hollywood
3. Ian Mckellen - The Good Liar
4. Al Pacino - The Irishman
5. Finn Wolfhard - The Goldfinch

BEST ORIGINAL SCREENPLAY
1. Harriet
2. Once Upon a Time in Hollywood
3. The Report
4 Us
5. Pain & Glory

BEST ADAPTED SCREENPLAY
1. A Beautiful Day in the Neighborhood
2. The Goldfinch
3. The Irishman
4. Jojo Rabbit
5. Downtow Abbey

BEST CINEMATOGRAPHY1. Harriet - John Toll2. Once Upon a Time in Hollywood - Robert Richardson3. The Irishman - Rodrigo Prieto4. The Goldfinch - Roger Deakins5. Waiting For the Barbarians - Chris Menges

Share this post

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BEST PICTURE﻿
1. A Beautiful Day in the Neighborhood
2. Once Upon a Time in Hollywood
3. Harriet
4. The Goldfinch
5. The Irishman
6. 1917
7. Downton Abbey
8. Waiting For the Barbarians
9. The Lion King
10. Avengers: EndGame

BEST DIRECTOR
1. Quentin Tarantino - Once Upon a Time in Hollywood
2. Martin Scorsese - The Irishman
3. Kasi Lemmons- Harriet
4. Marielle Heller - A Beautiful Day in the Neighborhood
5. Ciro Guerra - Waiting For the Barbarians

BEST ACTOR
1. Mark Rylance - Waiting for The Barbarians
2. Christian Bale - Ford vs. Ferrari
3. Leonardo DiCaprio - Once Upon a Time in Hollywood
4. Matthew Rhys - A Beautiful Day in the Neighborhood
5. Robert de Niro - The Irishman

BEST SUPPORTING ACTOR
1. Tom Hanks - A Beautiful Day in the Neighborhood
2. Brad Pitt - Once Upon a Time in Hollywood
3. Ian Mckellen - The Good Liar
4. Al Pacino - The Irishman
5. Finn Wolfhard - The Goldfinch

BEST ORIGINAL SCREENPLAY
1. Harriet
2. Once Upon a Time in Hollywood
3. The Report
4 Us
5. Pain & Glory

BEST ADAPTED SCREENPLAY
1. A Beautiful Day in the Neighborhood
2. The Goldfinch
3. The Irishman
4. Jojo Rabbit
5. Downtow Abbey

BEST CINEMATOGRAPHY1. Harriet - John Toll2. Once Upon a Time in Hollywood - Robert Richardson3. The Irishman - Rodrigo Prieto4. The Goldfinch - Roger Deakins5. Waiting For the Barbarians - Chris Menges